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We are delighted to share with you the video interview of Rüdiger K. Weng, President of the Board of Directors at Weng Contemporary, on the "10 AM SERIES" hosted by Johann König; who is currently the most important gallerist in Germany. During the one hour interview, Rüdiger K. Weng discussed various topics, including a preliminary introduction to the companies he runs and their activities, breaking it into:

1. The Mother company, Weng Fine Art AG, which deals in B2B dealership. Established in 1995, the company analyzes the art market and caters to its clients - the dealers, galleries, and auction houses, and has sold art by more than 800-1000 artists over the past 26 years. The retail distribution business model is reflected on the website's structure as well, where no artworks are on display; these are only available through the company's partners. The company has seen a 40% growth in revenues in the year 2020.

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2. Weng Contemporary (ArtXX AG), our eCommerce platform catering to private clients via our website and other online platforms. The digital company has seen a 30% growth in revenues in the year 2020.

3. Weng Fine Art is the biggest independent shareholder in the art data provider Artnet.

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An interesting factor is Weng Fine Art's participation in the stock exchange (currently at a valuation of EUR 55-60 million), as well as the unique way of raising funds through the banks and shareholders, based on the company's track record. As Rüdiger K. Weng has said "We do not broker, what we sell we own and do not rely on investors only. We reinvest the profits, this is the way the company grows and our shares are on a historical high at the moment".

Rüdiger K. Weng embraces the fact that he is fortunate to have a group of board of directors. This offers the opportunity to project transparently to the art industry, which is refreshing, in an opaque art market reality.

To find our more, watch (or listen) to the interview below:

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Russell Young (born March 13, 1959) is a British-American artist. Young studied photography, film and graphic design at the Chester Art College and later attended Exeter Art College. He moved to London and gained recognition photographing the early live club shows in the late 1970s of Bauhaus, R.E.M. and the Smiths. During this period he shot portraits of Morrissey, Björk, Bruce Springsteen, Bob Dylan, New Order, Diana Ross, Paul Newman. In 1986, he shot the ‘Faith’ sleeve for George Michael. In the following ten years he directed more than 100 music videos during the heyday of MTV.

In September 2000, while living in New York City, he began to concentrate on art and to devote himself to painting.

Young is best known for his enamel, screen-print paintings on linen, which explore celebrity, rock and roll, death and history. His earliest notable works as an artist are his "Pig Portraits", life-size Police mug shots of celebrities screened onto canvas. First shown in 2003 they proved a critical success and were exhibited in London and the United States. He followed this with his Fame + Shame series that explored American life as seen through the eyes of a young man growing up in England.

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Fascination Rosenthal

Beauty and perfection of the highest standards, Rosenthal signifies nothing more and nothing less. The name itself epitomizes contemporary design and art in both porcelain and glass, and more besides: Rosenthal stands for luxury, lifestyle and a special aestehetic feeling - for products without sophisticated tabletop culture and contemporary interiors would not be the same.

A sense of tradition coupled with the avantgarde is the underlying principle behind the worldwide leading company. Experience gathered over 130 years of company history, the will to innovate and the strong cooperations with the best international designers, architects, artists, craftsmen and celebrities guarantee the success of this exclusive company philiosophy.

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In Paper Kite Butterfly on Oleander, Hirst features his signature motif – the butterfly – alive in its natural surroundings, hanging from a beautiful, strikingly coloured blossom. In this, he has created an uplifting and celestial image that inspires childlike wonder in the face of such a beauty of nature. At the same time, however, it provokes fundamental questions about the meaning of life, a life which is characterized by death, and the fragility of biological existence.

“I love butterflies because when they are dead they look alive."—Damien Hirst

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The distinction between life and death, myth and medicine, is explored by the Cabinet series, as they serve as a shrine to modern pharmaceuticals.

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There is no imminent promise of salvation, no escape offered in these works. Those black pills, as in Dark Black Heaven, are as threatening as they are strangely attractive, a dark fatal allure which we already know leads to one ultimate destiny.

Hirst’s work questions the equivocal role of medicine. It can either take life and save life or destroy and restore. These pills are not a memento mori like the skulls or the butterflies. They are a symbol of resignation and alienation from life, and a fatal attraction towards death.

"It’s like God should be, the way they sell you the pills, the forms, the utopia, the hope, the cure. We’ve come a long way since quack doctors."—Damien Hirst

The pharmaceutical cabinets, as in Hirst’s work Utopia, question people´s complete reliance on medications and their power to heal, which fulfill the natural desire for immortality. However, the question is: Can drugs cure this problem, or can art?

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On the other hand, Gold tears, which is part of the Utopia series, depicts rows of shiny diamonds on shelves covered with golden foil in front of a golden-beige background. The image is an intense vision of a golden cabinet filled with diamonds, a vision often associated with glorious eternity. But as always in Hirst’s art, the ambiguity is obvious – this cabinet points to the fact that behind all the shiny glittery surfaces there might be nothing, no meaning, and no soul. And hence the desire for eternity is less a promise than a condemnation.

"I can’t understand why most people believe in medicine and don’t believe in art, without questioning either."—Damien Hirst

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